This article examines literary continuity and the transformation of traditional poetic images in early twentieth-century Uzbek poetry, particularly in Jadid poetry. It analyzes how poetic images inherited from classical literature and folklore were reinterpreted under new historical and socio-political conditions, acquiring broader semantic meanings and new national and social connotations. The study focuses on the symbolic and aesthetic functions of such poetic images as the cloud, shadow, curtain, storm, volcano, snow, statue, chain, shroud, mountain, blood, and bat in the poetry of Jadid writers, especially Fitrat, Cho‘lpon, Elbek, and Botu. Particular attention is paid to the transformation of traditional images into new semantic layers expressing ideas of oppression, colonial domination, slavery, national tragedy, freedom, independence, and rebellion. The evolution of poetic imagery is also considered in relation to the formation of individual poetic style. The article demonstrates that the symbolic and implicit meanings characteristic of Jadid poetry were closely connected with the political and social circumstances of the period. The analysis shows that new Uzbek poetry, while inheriting the artistic traditions of classical literature, fundamentally transformed traditional poetic images and enriched them with new aesthetic, national, and socio-political meanings. Thus, the poetic imagery of the period can be regarded as an important indicator of the emergence of a new national literary consciousness and a distinctive stage in the development of modern Uzbek literature.
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